HORNBY'S      ETCHINGS      OF     THE 
GREAT    WAR 


GOODSPEED'S 


MONOGRAPHS 
No.  3 


PHOTOGRAPHIC  PERMIT 


Not   transferable. 
From 


No. 


In  accordance  with  Section  XIU  Par.  B.,  G.  O.  146,  G.  H.  Q, 
A.    E.    F.,    C.    S.,    the    person    named    below    is    permitted    to 

make  sketches  0&-ftH**~t*  ) 

the  American  Army,  during  the  period  stated 
provision  that  nil  such  photographs  will  be  sti' 
ship  to  the  Photographic  Censor,  Signal  Co  ' 


Pass  used  by  Mr.  Hornby 
permitting  him  to  make 
SKETCHES  at  the  front. 


Lttttr  G.  Htrnby 
A  self  portrait. 


HORNBY'S      ETCHINGS     OF      THE 
GREAT     WAR 

WITH  A  COMPLETE  AUTHORITATIVE  LIST 

OF  ALL  HIS  PLATES  (1906-1920) 

AND  WITH  TWO  OF  THE 

ARTIST'S  LETTERS 

FROM  THE 

FRONT 

By 
Louis  A.  Holman 


1921 
CHARLES  E.  GOODSPEED  &  CO.,  BOSTON 


(Lester  G.  Hornby  was  born  at  Lowell, 
Mass.,  March  27,  1882.  He  studied  at  the 
Rhode  Island  School  of  Design,  the  Brie 
Pape  School  in  Boston,  the  Art  Students' 
League  in  New  York  and  under  Jean  Paul 
Laurens  and  others  in  Paris.  His  first 
plates  were  etched  in  Paris  1906.  (See  list, 
page  20.)  Hornby  was  in  Europe  when 
the  war  broke  out  and  saw  the  British  and 
French  mobilizations.  In  1916  he  was  at 
the  front  with  the  French  troops.  In  1918 
he  was  with  the  Americans.  Although 
gassed  he  did  not  spend  a  day  in  the  hos- 
pital. After  the  Armistice  was  signed  he 
had  a  slight  attack  of  influenza  but  was  able 
to  sail  for  home  in  good  health  about  Nov. 
28,  1918.) 


Copyright  1921.  by 
C.  E.  GOODSPEBD  &  CO. 

All  right*  re»«rTed 


No.  186     The  Observer. 
Valley  of  the  Marne. 


HORNBY'S    ETCHINGS    OF    THE    GREAT    WAR 

ONE  does  not  conclusively  prove  himself  an 
artist  by  drawing  correctly,  or  an  etcher  by 
successfully  biting  a  plate.  It  is  quite  possible 
that  a  clear  brain  and  nimble  fingers  account  for 
both  results,  and  that  the  man  has  no  sense  of  art, 
or  anything  to  say  that  warrants  the  using  up  of  a 
single  copper  plate.  Unfortunately  these  facts  are 
not  widely  recognized,  but  Time,  sitting  on  the 
bench,  usually  pronounces  a  just  verdict.  We  have 
but  to  wait. 

Since  Hornby  some  fourteen  years  ago  began 
etching,  there  has  never  been  a  question  about  his 
ability  to  draw  correctly ,  and  it  was  soon  apparent 
that  his  etchings  had  about  them  a  good  deal  of  that 


spontaneity  which  the  art  at  its  heights  demands. 
As  the  years  have  passed  Time's  judgment  has  been 
heard  in  two  continents.  It  is  that  Hornby  has 
something  to  say,  and  that,  given  the  opportunity, 
he  says  it  forcefully  and  artistically.  The  year 
that  the  war  began, —  to  cite  but  one  concrete  in- 
stance of  this  judgment,  Dr.  Frank  Weitenkamph 
justly  spoke  of  him  as  "an  artist  who  is  original 
without  a  shriek,  without  a  blaze  of  discord.  He 
has  recognized  and  utilized  tradition ;  he  has  re- 
spected the  limits  of  his  art,  but  has  moved  freely, 
unhampered  within  them." 

WTiat  his  opportunities  were  before  the  war  and 
how  well  he  measured  up  to  them  is  an  old  story. 
It  is  unnecessary  to  try  here  to  add  anything  to 
what  the  pages  of  The  Studio,  Art  and  Progress, 
La  Revue  d"  L'Art,  Figaro,  Le  Temps  and  many 
other  authorities  have  so  well  recounted  at  length, 
and  to  which  the  permanent  collections  of  the 
national  museums  of  art  in  Europe  and  America  bear 
continuous  witness. 

It  was  in  1918  that  Hornby's  great  opportunity 
came.  Throughout  the  whole  North  American  con- 
tinent, in  response  to  a  second  call  to  arms  young 
men  were  hurrying  forward  that  they  might  not  be 
wanting  where  duty  or  danger  called.  In  the  con- 
fusion of  the  hour  there  was  many  a  mistake,  many 
a  needless  sacrifice,  many  a  foolish  assignment. 
But  Hornby  was  one  of  the  fortunate  ones.  He 
was  attached  to  the  Commission  on  Public  Infor- 
mation and  given  permission  to  wander  at  will 

6 


wherever  there  were  American  troops.  So  he  passed 
those  ever  memorable  summer  and  autumn  days 
of  1918  in  the  rain,  and  mud,  and  cold  (more  nerve- 
racking,  says  many  a  soldier,  than  the  German  bombs) 
gathering,  on  this  front  and  that,  "  information " 
that  was  not  wired  to  America,  or  relayed  to  the 
Commandant's  headquarters,  but  rapidly  and  care- 
fully tabulated  with  pencil,  pen  and  brush  on  small 
sheets  of  paper  to  be  finally  given  to  the  world  in 
the  form  of  drawings  and  etchings.  They  con- 
stitute a  permanent  record  of  the  war  to  which  in 
future  years  descendants  of  those  who  bore  part  in 
the  conflict  will  turn  with  ever  increasing  pride  and 
satisfaction. 

These  pictorial  records  are  original  human  doc- 
uments,—  stenographically  recorded,  but  having  the 
valuable  additional  quality  of  being  so  happily  put 
down  that,  per  se,  they  delight  the  eye  even  while 
they  carry  one  into  the  midst  of  the  awful  struggle. 
Sometimes  Hornby  made  as  many  as  fifty  sketches 
under  fire,  in  a  single  morning.  No  matter  what 
the  number,  each  was  done  with  unhesitating,  rapid 
sureness,  by  a  master  of  brevity  and  of  complete- 
ness. His  years  of  practice,  with  eye  and  hand 
working  in  perfect  unison,  had  given  him  this  mar- 
velous facility.  His  previous  long  and  intimate 
acquaintance  with  the  country  where  the  war  was 
fought  contributed  a  thousand  and  one  facts  to  the 
final  result,  thus  making  him,  perhaps,  the  one 
American  artist  absolutely  qualified  for  the  great 
task  before  him. 

7 


£*• 

No    tbS     The  Alarnt  Advance  at  Vaux. 


In  peaceful  student-days  Hornby  had  wandered 
about  France,  always  at  home  with  the  people. 
Now  in  the  days  when  war  laid  waste  the  country 
he  loved,  he  lived  with  the  soldiers,  a  soldier,  par- 
taking of  their  experiences  through  each  day  and 
night.  It  was  by  entering  thoroughly  into  the  life 
of  Paris  that  he,  years  before,  had  succeeded  so 
admirably  in  giving  ua  etchings  of  Paris  second  to 
none  among  those  of  modern  men ;  by  living  a 
peasant  in  the  land  of  peasants  he  had  produced 
etchings  of  the  Marne  country  that  breathe  the  very 

8 


spirit  of  rural  France  ;  so  by  natural  sequence  when 
Hornby  lived  a  soldier  in  the  army  of  his  country- 
men he  produced  a  set  of  etchings  worthy  of  the 
man  and  of  the  opportunity. 

The  two  letters  of  Hornby  that  follow  speak  for 
themselves.  Though  not  written  for  publication 
they  show  the  same  keen-sighted,  accurate  observer 
of  life  and  of  events,  that  is  so  evident  back  of  the 
wonderfully  virile  series  of  etchings.  This  series 
is,  I  believe,  destined  to  stand  as  the  greatest 
pictorial  record  of  America's  part  in  the  Great  War. 


GRAND  NOUVEL  HOTEL,  LYONS, 
July  29,   1918. 

I  AM  now  in  the  south  of  France  —  the  routine  of 
all  blesses  Americans  ;  but  don't  draw  the  con- 
clusion that  I  am  a  blesse;  far  from  it.  I  am  here 
with  Herbert  with  a  government  car,  stopping  in  the 
large  industrial  centers  giving  conferences  and 
movies  on  what  America  is  doing  in  the  war  ;  and  it 
would  surprise  people  at  home  to  know  the  wonders 
that  are  being  done  over  here.  There  are  miles  and 
miles  of  new  quais  in  the  different  ports,  and  our 
own  railroads  connecting  them  with  the  front. 
Thousands  upon  thousands  of  motor  trucks  of  enor- 
mous size  continually  going  over  the  roads  with  sup- 
plies that  are  being  landed  daily.  And  divisions 
twice  the  size  of  French  and  English  divisions  going 
to  the  front  in  surprising  numbers  and  speed. 

The  C.  P.  I.  (Committee  on  Public  Information) 
has  done  everything  possible  to  faciliate  my  work  in 

9 


getting  sketches  of  the  front,  and  I  have  a  pass 
allowing  me  to  go  to  any  front  of  the  army.  As 
soon  as  I  received  this  precious  paper  I  promptly 
took  advantage  of  it  and  left  for  Chateau-Thierry. 
I  fell  in  with  a  division  of  Texas  boys  who  had  put 
in  a  generous  supply  of  cigars,  candy  and  canned 
goods.  I  rode  along  with  them  on  one  of  the 
supply  trucks,  showing  my  genuine  and  demonstra- 
tive appreciation  for  the  good  things  that  came  my 
way.  The  road  was  occasionally  shelled  and  the  first 
truck  to  get  hit  was  the  bread  truck.  A  lot  of  bread 
was  being  left  in  the  road,  so  I  picked  up  a  few 
loaves  and  brought  it  along  under  my  coat  and  threw 
it  under  the  seat  of  our  truck.  And  hours  after 
when  it  got  dark  and  the  roads  became  congested,  a 
column  of  infantry,  mud  soaked  and  hungry,  stopped 
beside  us  and  asked  for  bread.  Well,  1  was  glad  I 
had  salvaged  that  bread.  I  never  saw  bread  appre- 
ciated more. 

We  had  gone  through  Belleau  Woods  where  the 
fighting  had  torn  almost  every  tree  to  shreds.  There 
were  still  Germans  dead  in  the  woods,  and  a  number 
of  hastily  made  graves  of  Americans  who  had  turned 
the  Boche  advance  into  a  retreat.  We  passed  the 
road  leading  off  to  Chateau-Thierry,  but  I  wouldn't 
have  left  that  supply  train  for  anything  in  the  world. 
Evening  was  just  coming  on  and  our  artillery  fire, 
already  behind  us,  was  barking,  cracking,  booming 
and  thundering  as  though  the  sky  would  split  open 
from  the  shock  and  tremble  of  the  big  guns. 

We  donned  helmets,  made  ready  our  gas  masks 

10 


and  crept  along  between  our  guns  and  the  high  fagot 
camouflage  on  the  enemy's  side  of  the  road.  We 
saw  the  silhouettes  of  two  avions  almost  directly  over 
us  fighting  it  out  to  a  finish.  The  enemy  plane  had 
come  over  locating  our  train  and  the  gun  emplace- 
ments. Another  avion  shot  down  from  out  of  no- 
where, banked  abruptly,  slid  into  a  nose  dive  and 
rolled  up  under  the  enemy's  tail,  opening  fire  at  him 
with  deadly  accuracy.  It  all  happened  so  quickly 
that  the  falling  machine  had  hardly  struck  the  earth 
before  the  victor  had  shut  off  his  engine  and  was 
sweeping  down  to  within  a  hundred  feet  of  our  heads, 
leaning  over  the  side  of  his  machine,  and  revealing 
the  American  colors  on  his  plane. 

We  parked  on  the  edge  of  a  dense  woods,  and 
regardless  of  the  deafening  batteries  concealed  in  the 
trees,  stretched  out  for  a  short  sleep.  I  was 
awakened  by  the  tramping  of  infantry. 

It  was  now  pitch  dark  and  roads  were  crowded  ; 
long  bedraggled  columns  of  twos  going  and  coming 
from  the  lines  —  not  trenches ;  no,  we  were  away 
ahead  of  the  old  trenches  and  advancing  too  rapidly 
to  make  anything  more  than  the  hastiest  sort  of 
consolidations,  small  scooped  out  places  that  might 
be  useful  in  an  emergency. 

An  enemy  "  star  light "  floated  over  us  and  lit  up 
the  countryside  like  daylight,  then  there  was  a  long 
hiss  punctuated  by  a  deafening  explosion,  and  the 
gas  alarm  was  passed  down  the  line.  We  wore  our 
gas  masks  for  a  few  minutes  until  the  wind  veered 
and  took  the  fumes  back  where  they  came  from. 

12 


The  artillery  fire  of  the  enemy  seemed  to  be 
weakening,  and  by  early  morning  but  few  shells 
dropped  near  enough  to  be  dangerous.  With  the 
light  of  dawn  we  found  ourselves  sprinkled  about  the 
wooded  edge  of  a  wheat  field  heavily  fringed  with 
underbrush ;  the  first  rays  of  daylight  pierced  the 
misty  darkness  here  and  there  ;  the  woods  seemed  to 
be  alive  with  men.  Groups  standing,  some  sitting, 
some  scrawling  hasty  notes ;  Grenaders  restlessly 
arranging  their  deadly  missiles  ;  "  chau-chad  "  gun- 
ners with  their  automatics  and  ammunition.  Officers 
were  busy  with  brief  orders  and  words  of  assurance. 
Mingling  with  the  muffled  clicking  of  rifles  and 
bayonets  an  occasional  sniper's  shot  found  its  way 
into  this  restless  woodland  quiet.  Shelling  had 
begun  somewhere  down  the  line  and  kept  coming 
nearer  and  nearer.  The  whole  woods  was  soon  rent 
by  deafening  bursts  of  high  explosives  and  shrap- 
nel, and  from  across  the  wheat  field  the  irritating 
rat-tat-tat  of  enemy  machine  guns  now  working  on 
our  first  three  lines — already  "  going  over  "  through 
the  wheat.  Hell  itself  had  broken  loose  with  its 
smoke  and  smell  of  gasses. 

I  was  in  the  third  line  and  with  about  six  others 
was  extremely  intent  upon  making  a  full-length  im- 
pression of  my  figure  at  a  point  as  near  sea  level  as 
the  wheat  field  had  to  offer.  We  were  being  sprin- 
kled with  wheat  clipped  off  above  our  heads  when 
one  boy  got  inquisitive  and  raised  himself  to  locate 
the  gun,  but  dropped  down  again  and  soon  broke  into 
an  oath  revealing  a  complete  mastery  of  technique 

13 


in  profane  expression.  "  S  '  matter  buddy?  "  one  of 
us  ventured.  "  S'  matter !  look  at  that !  "  He  held 
up  his  left  sleeve  showing  how  a  machine  gun  bullet 
had  just  missed  his  arm  taking  a  piece  out  of  the 
sleeve.  "  And  that's  where  I  always  wanted  to  get 
mine,  too.*'  A  cherished  vision  of  two  months  be- 
hind the  lines  seemed  to  vanish  l>efore  him  forever, 
and  he  put  himself  down  for  being  S.  O.  L.  (Sure 
out  o'  luck). 

By  this  time  we  had  worked  in  on  the  enemies 
flank  with  grenaders  and  automatics,  and  cleaned  up 
the  objectives  in  that  neck  of  the  woods,  taking  a 
number  of  prisoners,  machine  guns  and  ammunition. 
The  people  at  home  cannot  begin  to  realize  the  work 
the  boys  are  doing.  It  is  impossible  to  comprehend 
the  courage  and  tenacity  that  this  turning  of  the  tables 
stands  for  without  actually  seeing  them  in  action. 

The  next  evening  I  went  back  to  Chateau-Thierry 
and  found  quarters  in  a  hospital  that  had  been 
bombed  shortly  before  I  arrived,  regardless  of  the 
huge  red  cross  painted  on  the  roof.  The  1 1 1th  Field 
Hospital  had  just  moved  in  and  were  sitting  down  to 
mess  when  I  got  there  about  midnight.  It  was  the 
first  real  meal  I  had  had  for  three  days.  I  had  the 
good  luck  to  fall  in  with  an  officer  who  offered  me  his 
bed  while  he  was  on  duty.  This  with  good  meals  for 
two  days  and  I  was  all  set  up  again.  Knocking 
about  as  I  do  one  gets  a  pretty  good  cross-section  on 
humanity.  And  it  has  been  my  luck  to  meet  fine 
types  of  both  officers  and  men  with  the  outfits  I  have 
been  with. 

14 


.  /<?/ 


Advance,  Romagne 


Chateau-Thierry  now,  and  the  C  —  T.  I  knew 
over  here  as  a  student  presents  a  great  note  of  con- 
trast. The  old  hotels  along  the  river,  "  The  Giraffe  " 
and  "  The  Elephant  "  are  now  masses  of  ruins.  My 
first  glimpse  inside  "  The  Elephant  "  was  by  moon- 
light coming  down  through  shell  holes  in  the  roof. 
Broken  plaster  was  piled  over  the  chairs  and  billiard 
tables  in  the  old  "Salle"  where  we  had  had  such 
good  times  in  student  days. 

Ruined  houses  now  fall  over  one  another  and  into 
the  barricade  streets.  The  place  is  deserted  and 
silent,  but  for  the  occasional  hum  of  an  avion  over- 
head or  the  bombs  at  night. 

15 


[RoMAONE,]  BAT.  B  146TH  F.  A., 
November  7,  1918. 

EVER  since  I  last  wrote  to  you  I  have  been  along 
the  front  of  this  recent  advance  that  seems  to 
have  made  the  Hun  shout "  Kamarad  !  "  The  infantry 
have  had  to  go  through  all  the  hell  the  enemy  had  to 
offer  here  in  the  woods.  Attack  and  counter  attack 
following  one  another  day  in  and  day  out.  But 
things  are  moving  steadier  now.  The  Howitzers 
booming  down  behind  the  P.  C.  have  had  their  tar- 
gets advanced  again  and  again,  and  are  now  at  work 
on  the  Meuse  bridges  where  the  enemy's  retreat  must 
be  considerably  harrased  by  our  heavies.  Another 
duel  is  on.  We  have  a  nine-inch  dud  set  upon  a 
chopping  block  in  the  court,  it  ricochetted  from  one 
building  to  another,  wakening  an  American  K.  P. 
who  was  taking  a  nap  there.  The  dud  and  Tony 
rolled  out  into  the  court  together.  The  dudgradually 
stopped  but  not  so  with  Tony.  Some  time  later  he 
was  still  shaking.  One  of  the  fellows  asked  how  he 
felt ;  "  Fifty  years  old, — and  this  morning  I  was  only 
twenty-five." 

During  the  first  days  of  the  drive  we  had  warm 
autumn  weather  ;  and  along  the  roads  in  the  morning 
one  could  look  off  across  the  trench  scarred  hills 
north  of  the  Argonne  and  imagine  perfect  hunting 
days.  Yesterday  I  saw  a  covey  of  young  quail 
whirr-r  up  out  of  the  dusty  shell-torn  bushes  along 
the  roadside. 

Nov.  8.  Now  we  are  covered  with  mud  and  have 
been  for  four  days,  but  this  offers  certain  advantages 

16 


by  way  of  camouflage  for  one  has  simply  to  embrace 
the  landscape  — you  don't  even  have  to  be  told  when, 
and  one  blends  perfectly  with  the  surroundings. 

Nov.  9.  We  went  back  to  Cunel  this  morning  and 
saw  in  the  roof  and  wall  of  the  old  farm  house  shel- 
tering the  P.  C.  one  place  where  two  nine-inch  shells 
went  through  the  same  hole,  during  the  artillery  duel 
we  had  heard  going  on  above  us.  The  Captain  re- 
marked, "  They  must  have  our  range."  No  one  dis- 
puted this  conclusion.  But  there  is  a  certain  feeling 
of  relief  now  for  the  firing  from  across  the  river  has 
become  very  intermittent.  Report  has  come  in,  that 
we  have  the  enemy's  main  arteries  of  communication 
under  fire  ;  and  every  thing  indicates  that  it  must  be 
so.  For  the  last  two  nights  we  have  had  no  visits 
from  the  bombers.  "  Light  out "  has  gone  around  a 
few  times,  and  everyone  becomes  silent  and  listens 
for  the  uneven  hum  of  an  enemy  plane. 

Orders  have  come  for  the  outfit  to  get  in  traveling 
position  ;  the  guns  are  being  pulled  up  along  the 
road  and  we  expect  to  advance  in  the  night. 

I  was  going  to  stay  behind  for  awhile,  but  it  looks 
as  though  it  would  be  more  interesting  up  here. 

There  are  articles  by  Mr.  Hornby  on  his  war  experiences  in 
the  CKNTURY,  Dec.  1914,  and  the  OUTLOOK,  Aug.  30,  1916. 


18 


No.  775     Seicheprey 


•SEICHEPREY 

A  handful  came  to  Seicheprey 
When  winter  woods  were  bare 
When  ice  was  in  the  trenches 
And  snow  was  in  the  air 
The  foe  looked  down  on  Seicheprey 
And  laughed  to  see  them  there. 

The  months  crept  by  at  Seicheprey 
The  growing  handful  stayed 
With  growling  guns  at  midnight ; 
At  dawn,  the  lightning  raid, 
And  learned  in  Seicheprey  Trenches 
How  war's  red  game  is  played. 

September  came  to  Seicheprey  ; 
A  slow-wrought  host  arose 
And  rolled  across  the  trenches 
And  whelmed  its  sneering  foes 
And  left  to  shattered  Seicheprey 
Unending,  sweet  repose. 

CAPT.  JOSEPH   MILLS   HANSON. 


•Sent  to  Mr.  Hornby  in  MS.  by  the  author,  after  they  had  visited 
Seicheprey  together* 

19 


COMPLETE    LIST    OF    THE     ETCHINGS 
OF    LESTER    G.    HORNBY. 

Abbreviation* 

L  of  C. —  In  Permanent  Collection  of  the  Library  of  Congress.  Washington 
N.  P.  L.—  Newark  Public  Library 

B.  1C.  of  P. A.—    "  Boston  Museum  of  Pine  Arts 

C.A.I.—  Chicago  Art  Institute 

V.  and  A.  1C.—    "        Victoria  and  Albert  Museum.  S.  Kensington.  London 

Hornby  is  also  well  represented  in  the  National  Museums  of 
Germany  and  France. 

Seventy-6ve  per  cent  of  the  etchings  are  out  of  print.  Fifty 
per  cent  of  the  plates  have  been  destroyed. 

The  figures  following  the  date  give  the  whole  number  of 
impressions  made. 

PARIS 

THK  SOUL  OF  A  CITY.  Mr.  Hornby's  tickings 
and  drawings  have  captured  Ike  poetry  as  well  as  tke 
" character"  of  Paris.  Mr,  Hornby  is  evidently  a 
possesser  of  a  variety  of  gifts  working  in  unusual  har- 
mony, and  his  equal  mastery  of  various  styles  and 
media  is  remarkable.  The  romance  of  old  buildings  on 
the  lie  dt  la  Cite,  the  bohemianism  of  "  Lt  Rat  Afort," 
tke  elegance  of  tke  Hois,  tke  quaint  "  character  "  of 
street  vendors,  small  shopkeepers  and  funny .  good  old  souls 
enjoying  a  play  of  La  Gaite.  Mr.  Hornby  it  equal  to 
them  all.  No  better  pictures  of  Paris  and  Paris  lift 
have  ever  been  made. 
RICHARD  LB  GA U.IKNNK  in  the  NEW  YORK  TIMES. 

1  Parisian  Cockers  1906        10 

2  Clditre  St.  Honor*  8        Salon,  1907 

The  technique  of  etchings  seems  to  have  presented 
little  difficulty  to  him,  for  within  a  very  brief  period  he 
had  so  familiarised  himself  with  its  intricacies  as  to  be 
able  to  produce  a  series  of  plates  which  the  Socittt  des 
Artistes  Francois  found  sufficiently  meritorious  to  in- 
clude in  their  annual  Salon.  The  same  year  (7907)  the 
Salon  <f  Automne  paid  tke  same  compliment  tt  his 
skill. — THK  STUDIO,  LONDON. 

3  Vieux  Passage,  Palais  Royal       1906        18 

4  Rue  dn  Sabot  8        Salon,  1907 

5  Canal  St.  Martin  8        Salon,  1907 

6  St.  Nicolas  du  Chardonnet  6 

7  Passage  St.  Pierre  18         L.  of  C. 

8  Rue  Madame  8 

9  Porte  de  la  Cour  du  Dragon  8 

20 


10  Little  Shops,  Rue  deVaugirard  1906          6        L.  of  C. 

11  Vieux  Passage,  Rue  de 

Vaugirard  8        L.  of  C. 

12  Vieux  Hotel  de  Sens  14 

13  Old  Court,  Rue  Vercingetorix  30        L.  of  C. 

14  Rue  de  L' Hot  el  de  Ville  20 

15  Rue  Eginhard  30        Salon,  1908 

16  Rue  du  Sabot  (Evening)  20        Salon    1907 

L.  of  C. 

"  Rue  du  Sabot "  is  an  effective  night  scene  in  Paris, 
as  is  the  little  plate  entitled  "  Parisian  Cochers."  The 
effects  gained  by  means  of  the  retroussage  in  these  plates 
are  very  powerful. 

A.  j.  PHILPOTT  in  the  BOSTON  GLOBE . 

17  Rue  du  Rennes  1906 

Published  in  LA  REVUE  DK  L'ART  ANCIENNB  ET 

MODERNS  PARIS.  LA  REVUE  DE  L'ART  Speaks  of 
Mr.  Hornby,  "  —  dont  la  concision  nous  etonne,  nous 
autres,  Latins  bavards." 

18  LaModfcle  1906  10 

GREAT  BRITAIN 

19  In  Happy  Valley.    Llandudno, 

Wales  18 

20  Welsh   Farmhouses.      Llan- 

dudno, Wales 

21  Blackwall  Beach  10 

22  The  River  Tyne  at  Newcastle       "  12        L.  of  C. 

A  poetic  little  print  is  the  one  entitled  "  The  River 
Tyne,  Newcastle."  It  looks  almost  as  if  Turner  might 
have  done  it. —  A.  J.  P. 

PARIS 

23  Cafe"  du  Rond  Point  1907        50        Salon,  1907 

L.    of  C., 
N.  P.  L. 

Turning  from  these  to  the  sketches  made  in  Paris  — 
in  old  Paris  —  one  begins  to  comprehend  the  versatility 
of  Mr.  Hornby1  s  sympathies  andgenius.  Take  the  littte 
plate  entitled  "  Cafe  du  Rond  Point."  It  is  delight- 
fully sketchy  and  suggestive,  both  in  the  character  of  the 
architecture  and  the  life.  It  is  well  balanced  as  a  com- 
position by  means  of  a  broad  street  foreground,  and  it  is 
bizarre  in  its  luminosity. — A.  J.  P. 

21 


24  The  Little  Balconies,  from  my 

Stndio  1907        60 

After  living  in  a  city  for  a  long  time,  one  reaches  a 
point  where  one  no  longer  really  sees  it.  The  great 
value  of  etchings  and  drawings  such  as  these  is  that  they 
make  us  see  and  appreciate  the  thousand  and  one  beauties 
of  familiar  and  charming  corners  of  old  Paris,  where  we 
used  to  take  our  walks  when  we  were  young,  in  the  days 
when  we  were  wise  enough  to  take  the  time  to  idle. 
Hornby  takes  us  again  through  these  pleasant  and  re- 
freshing streets.  We  find  the  narrow  balconies^  the 
curious  passage-ways,  the  little  restaurants  of  the  Latin 
Quarter  and  we  realize  better  the  wealth  of  charm  of  the 
most  human  of  capitals  and  hospitable  of  cities. 

LOUIS  THOMAS   in    LA   FRANCE. 

25  Quai  Aux  Pleurs  1907        60 

The  immediate  rendering  of  the  theme,  without  any 
superfluity  of  detail,  into  a  work  of  art. 
PAUL  CHAUVBT,  JOURNAL  DK  L'ALANTIQUK,  PARIS. 

26  Boulevard  Montparnasse  1907        15 

27  Passage  St.  Paul  40 

28  An  Jardin  du  Luxembourg  8        L.  of  C. 

29  Palais  du  Luxembourg  11        Salon,  1908 

30  Le  Pont  Marie  12 

31  St.  Nicolas  des  Champs  12        Salon,  1908 

32  A  la  Gait6  Montparnasse  60 

33  Charenton  15 

SPAIN 

34  Little  Spanish  Wine  House  30 

35  In  Old  Toledo  30 

One  of  the  richest  plates  in  the  entire  collection  is  one 
made  in  Spain,  entitled  "/«  Old  Toledo."  In  this 
plate  you  feel  the  strength  of  the  architectural  pile,  and  at 
the  same  time  there  is  all  the  spell  and  mystery  in  the  tone 
values.  The  accents  are  strong,  but  the  tones  are  all 
rich  and  deep.  —  A.  J.  P. 

36  Burgos  1907        30 

37  Wine  House  in  Moonlight  30 

38  Gypsy  Dancer,  Seville  30 

39  Paseo  de  San  Sabastian  30 

40  Old  Spanish  Doorway,  Seville      "  20 

41  Street  to  Plaza  de  Zocodover, 

Toledo  30 

22 


HOLLAND 

42  Rotterdam  Canal,  Twilight          1908        50 

43  Dutch  Fishing  Boats  50 

44  Delft  60 

Suck  rapid  impressions  followed  by  instantaneous  com- 
position, account  for  Hornby*  s  excessive  lightness  of  touch. 

PAUI,  CHAUVBT 

VENICE 

45  Rainy  Sunday  at  San  Marco, 

Venice  1908        60 

46  In  the  Guidecca  30 

47  Canal  in  Venice  40 

48  Ponte  di  Rialto  18 

49  Souvenir  de  Venice  40 

50  Cologne  from  the  Rhine  50 

FRANCE 

51  Passage  des  Patriarches 

(1st  state)  18        B.M.of  F.A. 

52  Passage  des  Patriarches 

(2nd  state)  1919        60        B.M.of  F.A. 

53  Market  Day  on  Boulevard 

Edgar  Quinet  1908        18 

54  La  Lettred' Amour  "  18        Salon,  1909 

"  Little  Balconies,"  "  La  Lettre  d' 'Amour  "  and  the 
charming  "  Quai  aux  Fleurs  "  all  invite  description,  so 
tellingly  do  they  give  us  not  only  the  familiar  outlines  of 
these  picturesque  localities,  but  the  atmosphere  replete 
with  human  interest,  which  envelopes  them.  Seldom 
does  he  give  us  a  plate  in  which  this  interest  is  lacking. 
And  it  is  in  this  comprehensive  outlook  that  much  of  the 
strength  of  Mr.  Hornby' s  plates  lie  ;  this  keen  interest  in 
the  life  of  the  people  combined  with  forceful  powers  of  ex- 
pression. These  are  of  the  qualities  that  combine  to 
make  the  great  etcher — MARIB  BROUETTE. 

55  Swiss  Chalets  1908        18 

56  Aux  Ambassadeurs  30 

The  lady  of  "Aux  Ambassadeurs," —  the  art  oj 
omission.  —  M.  BROUETTE. 

57  A  Montrouge  1909        24 

58  Cafe"  Julien-Rue  Mouffetard  18        Salon,  1909 

59  Le  Gros  Chou  18 

60  L'Hiver  dans  le  Jardin  du 

Luxembourg  60          Salon,  1909 

C.A.I. 

23 


Again  in  "  L'Hivcr  au  Jar  din  du  Luxembourg  "  « 
nnv  remitting  is  given  to  an  oft  repeated  corner.  Tke 
Cour  del  Jf tints  is  shown  with  the  outlines  of  the  Palais 
in  the  distant e.  It  is  the  children's  playground,  but 
covered  with  the  snows  of  winter  and  deserted  with  the 
change  of  seasons.  To  be  sure  one  small  maiden  is  seen 
on  the  highway,  but  led  by  a  maternal  hand,  every  line 
of  the  alert,  little  figure  tells  us  where  there  will  be  no 
loitering  by  the  way  and  that  weightier  matters  have 
replaced  the  careless  joys  of  summer.  The  vacant  chairs 
reminiscent  of  as  many  charming  little  faces  and  their 
attendant  "  Nou-nous, "  gay  with  variegated  ribbons 
line  the  Circle,  while  in  the  foreground  some  dosen 
sparrows,  "  vrais  gamins  de  Paris,"  alone  seem  glad  to 
linger.  —  MARIE  BROCBTTB. 

61  Rainy  Day,  Pont  Nenf  1909        25        N.  Y.  P.  L. 

The  Pont  Neuf  is  given  a  new  and  delightful  expres- 
sion. Incited  more  by  the  historic  glamour  which  rests 
over  the  oldest  bridge  in  Paris,  than  by  its  architectural 
beauties,  it  is  made  the  setting  for  a  plate  in  which 
human  interest  predominates.  It  is  the  Pont  Neuf  on  a 
rainy  day,  near  to  the  hour  of  twilight.  Some  half 
dozen  figures  are  hurrying  onward  through  the  driving 
rain.  In  the  long  line  of  buildings  on  the  Quai,  Mr. 
Hornby  has  given  us  a  splendid  bit  of  architectural 
drawing,  while  the  handling  of  stem  and  branch  to  the 
right  strihes  a  happy  note  in  an  extremely  well  balanced 
plate.  —  MARIE  BROUETTB. 

62  Ruedel'ficolePolytec  1909        60        Salon,  1909 

N.  Y.  P.  L. 

63  Passage  de  la  Petite  Boucherie     "  60        Salon,  1909 

64  Mai  son  Roma  in,  Jour  <leMarch£    "  15 

65  Carrefour  de  la  Croix  Rouge         "  15 

66  An  Rat  Mort  18 

TUNIS 

67  In  the  Old  Port,  Bizerte,  Tunis     "  30 

Since  he  came  to  Paris  in  igob  and  started  studying 
European  life,  his  talent  and  taste  have  taken  him  to  an 
immense  variety  of  seen es,  from  Tunis  in  the  South  to 
the  top  of  Scotland  in  the  North.  Cheerful  and  happy 
in  the  shows  of  life,  with  a  tremendous  amount  of 
vitality,  Hornby  has  now  made  a  name  for  himself  not 
only  in  Paris  -where  he  has  shown  his  work  at  the  Salon 
every  year  since  1907  and  at  the  Societe  des  Amis  de 
rf.au  Forte,  but  also  in  England  and  America. 

PAUL  CHAUVBT 
24 


68  Street  in  Tunis  1909  40 

69  Arab  Cafe  "  40 

70  Little  Shops,  Tunis  "  40 

71  Arab  Musicians  40 

PARIS 

72  Dans  le  Jardin  du  Palais  Royal     "  60        Salon,  1912 

L.  of  C. 

73  La  Fgte  du  Palais  Royal  1911        25 

(Plate  sent  to  the  Gazette  des  Beaux  Art  for  pub- 
lication with  an  article  on  the  etcher's  work  just  as  war 
was  declared  in  1914 —  and  never  heard  from  after  — 
probably  lost  at  sea . ) 

74  Marchande  de  Fleurs  1911         12 

75  The  Little  "  Rendez-Vous "         "  60 

Hornby**  pictures,  thus  seen  and  rendered  in  queer 
nooks  and  corners  of  Paris,  breathe  an  air  of  unpreju- 
diced observation,  recorded  with  light  yet  precise  indica- 
tion. The  life  and  surroundings,  figures  not  forming 
a  mere  staffage  for  the  buildings,  nor  the  latter  solely  a 
background  for  the  figures,  but  all  seen  as  parts  of  a 
picture  of  Paris  in  which  houses  and  streets  and  people 
form  a  characteristic  ensemble 

DR.   WEITENKAMPF   in    "AM.   GRAPHIC  ART." 

76  "  Aux  "  3  Bouteilles  1911        22 

FRANCE 

77  LePont,  Marne  "  40        Salon,  1911 

78  The  Goose  Girl,  Try-sur-Marne  "  8 

79  L'Eglise  \  Gland  "  6 

80  La  Jardiniere,  Matin,  Marne       "  22        Salon,  1911 

His  rare  feeling  for  luminosity  in  atmosphere  is 
finely  expressed  in  a  garden  scene,  in  which  an  old 
woman  and  a  wheelbarrow  are  the  central  features 
against  a  light  backgrouud,  in  which  swims  a  fine  old 
buiUing. — A.  J  P 

81  Le  Matin,  Gland  sur  Marne        1911        24        Salon,  1911 

C.  A.  I., 

In  other  important  etchings,  such  as  "  Le  Matin," 
there  is  a  very  beautiful  expression  of  light ',  and  the  com- 
position is  as  unusual  as  it  is  charming. 

W.    H.    DOWNES  in  the  BOSTON  TRANSCRIPT. 

82  Les  Cochons,  Try-sur-Marne      1911          6 

83  La  Fgte  &  Pantin  "  25        Salon,  1911 

84  Les  Blanchisseuses,  Marne  8        Salon,  1911 

25 


85  Les  Lavoirs  a  Chateau-Thierry    1911        10        Salon,  1911 

86  Chateau  de  Passy,  Marne  '  24 

87  Les  Petite  Maisons,  Bourg- 

la-Reine  4 

88  L'ArcenCiel  "  6 

89  La  Porte  de  Samois  12        Salon,  1911 

90  L«s  Commferes  8 

91  La  Porte,  Moret  28        L.  of  C. 

92  La  Vieille  Porte,  Moret  26        Salon,  1911 

"  La  Vieillt  Porte  "  was  exhibited  in  the  ign  Salon 
It  is  a  clean,  virile  bit  of  etching.  —  A.  J.  P. 

93  La  Basse  Cour  1912          4 

94  La  Brise  25        Salon,  1912 

95  La  Petite  Epicerie  22        Salon,  1913 

96  ATrouville  25 

97  Vieilles  Maisons,  Reims  27 

Another  interesting  Kheitns  composition  shows  some 
quaint  corner  shops  not  far  from  the  Place  de  la  Cathe- 
drale  which  were  subsequently  ruined  by  the  German 
shell  fire.  —  W.  H.  D. 

98  Conr  a  St.  Mammes  1912          4 

99  Vieille  Femme  Aux  Champs, 

Marne  25        Salon,  1912, 

V.  &  A.  M. 

100  Dans  les  Champs,  Marne  "  25        Salon,  1912 

Dans  Les  Champs  "  is  a  big  composition,  yet  very 
simple.  The  figure  of  the  peasant  woman  in  the  fore- 
ground and  me  delicate  shadow  that  sweeps  across  the 
immediate  foreground  intensifies  the  feeling  of  space  and 
of  light  in  the  composition. — A.  J.  P. 

101  La  Colline.  Marne  "  40        Salon,  1913 

There  is  another  somewhat  similar  in  character  in 
which  vast  masses  of  circular  clouds — rather  light — 
seem  to  be  flying  across  the  sky,  The  cloud  forms  are 
exquisitely  drawn,  and  by  a  curious  arrangement  oj 
the  lines  in  the  clouds  and  the  direction  of  the  lines  in 
the  sky  he  emphasizes  the  feeling  of  movement,  while  the 
bent  foliage  through  which  you  feel  the  wind  blowing 
completes  the  effect  on  the  eyes  and  the  mind. — A.  J.  P. 

102  Le  Gamin,  Marne  1912        40 

103  La  Petite  Ferme,  Normandie      "  30        S.  K.  M. 

104  Dimanohe,  Normandie  24 

105  Dimanche  Matin,  Marne  20        S.  K.  M. 

106  Les  Bohe"miens,  Normandie        "  24 

26 


107  L'AnealaGarenne,Normandiel912         8 

108  Ciel  et  Champs,  No.  1, 

Normandie  18 

Of  the  "  Sky  and  Field"  series  there  are  nine 
prints,  in  which  the  subjects  are  virtually  restricted  to 
delicate  studies  of  sky  effects  over  an  open  country,  several 
of  them  being  remarkable  for  the  luminous  and  silvery 
effects  of  sunlight  obtained  by  the  simplest  means. 

— W.  H.  D. 

109  Ciel  et  Champs,  No.  2,  Marne  1912        15 

110  Ciel  et  Champs,  No.  3, 

Normandie  18 

HOa  Ciel  et  Champs,  No.  4,  Marne     "  18 

111  Ciel  et  Champs,  No.  5, 

Normandie  6 

112  Ciel  et  Champs,  No.  6, 

Normandie  4 

113  Ciel  et  Champs,  No.  7, 

Normandie  18        L.  of  C. 

114  Ciel  et  Champs,  No.  8,  Loire      "  18 

115  Ciel  et  Champs,  No.  9, 

Normandie  18 

116  Moulin  Sannois  "            18 

117  Moulin  Loire  "            20 

118  Au  Bord  de  la  Riviere, 

Normandie  60        Salon,  1913 

119  Notre  Dame  de  Paris  25 

120  Ramasseuses  des  Fagots, Marne  "  30 

121  Le  Ciel  Pluvieux,  Marne  "  40        L.  of   C., 

S.  K.  M. 

"  There  is  one  plate  which  shows  the  fine  freedom 
and  certainty  of  the  artist  perhaps  more  than  any  he  has 
done.  It  is  a  wind  and  rain  storm  passing  over  a  low, 
dark  landscape  in  which  is  a  curved  road.  It  is 
dramatic  in  a  sense,  but  it  is  in  the  way  that  he  has 
handled  the  cloud-covered  sky  that  his  genius  for  line  is 
revealed.  You  feel  the  vastness  of  the  sky  and  the  mass 
tf  the  great  clouds,  from  some  of  which  the  rain  falls  in 
slanting  sheets.  And  you  feel  the  movement  in  the 
clouds  which  is  emphasized  by  the  value  and  character  of 
the  landscape." — A.  J.  P. 

122  Le  Petit  Chemin,  St.  Michel     1912        12 

123  Quai  du  Bassin,  Boulogne  "  35        Small 

123a  Quai  du  Bassin,  Boulogne  "  5         Before  plate 

was  cut  down 

27 


124  Le  Chanson  1912        40 

125  Le  Chateau  a  Langeais,  Loire      "  18 

But  it  is  in  his  urban  compositions  and  his  plates  Of 
picturesque  old  buildings  in  France,  especially  some  of 
those  from  tke  so-called  chateau  country  of  Touraine,  that 
Mr.  Hornby  makes  his  most  personal  appeal, — w.  H.  D. 

126  Le  Chateau  &  Luynes,  Loire       1912        18 

127  La  Marne  a  Chateau  Thierry       "  18 

"Among  the  Marne  valley  subjects,  one  is  glad  to  get 
another  look  at  such  admirable  plates  as  "La  Marne  a 
Chateau  Thierry." — w.  H.  D. 

There  is  one  little  plate — "Za  Marne" — in  which 
you  are  looking  into  a  blazing  sun  well  up  above  the 
horizon  over  a  river  and  bridge  and  a  quaint  city  on 
both  sides  of  the  river.  Turner  would  have  hesitatea 
to  attempt  this  in  etching,  for  there  is  a  quality  of  ir- 
idescent luminosity  in  such  a  sky  which  is  very  difficult 
to  indicate  in  line  Yet  Hornby  has  done  it  in  this 
plate,  but  it  is  doubtful  if  it  could  be  suggested  so  well 
had  he  not  printed  the  plate  himself  .  The  composition 
is  well  balanced  and  the  intensity  of  the  light  is  suggested 
in  all  parts  of  the  picture . — A.  J.  P. 

128  Le  Gouter,  Villiers  1912        25        L.  of  C. 

129  Le  Fanage,  Marne  11        1st  state 

130  Le  Fanage,  Marne  40        2nd  state 

.  .  .  The  later  work  of  Lester  Hornby  is  remarkable. 
In  all  his  plates  executed  this  year  (1912-13)  the  same 
distinctive  energy  and  quality  of  vitality  are  distin- 
guished— "THK  STUDIO,"  Special  Etching  Num- 
ber, London,  1913. 

131  Le  Jardin,  Petit  Palais  Royal  1912        12 

132  La  F8te  a  St.  Cloud  1913        12 

133  Fin  du  Jour,  Marne  8 

134  Ruedu  Pont-a-Dame  Renaud, 

Rouen  8 

135  Chateau  Gaillard,  Normandy  "             6 

136  Le  Village,  Normandy  25 

137  PScheur  Breton,  Douarnenez  1914        30 

138  A  Road  in  Brittany  20 

139  La  Cath6drale,  Reims,  July  "            60 

Afr.  Hornby  made  an  etching  of  tke  cathedral  at 
Rheims  just  a  day  or  two  before  the  first  bombardment, 
and  it  13  believed  that  his  plate  is  the  last  one  made  on 
the  spot  prior  to  the  virtual  destruction  of  the  monument. 

—  W.  H.  D. 

28 


140  La  Porte  St.  Denis,  Paris  1916        24        I,,  of  C. 

141  La  Porte  deValois, Palais  Royal  "  60 

142  VieuxQuartierdel'Orphe'linate  "  7 

143  Vieilles  Maisons   Rue  de 

Vaugirard  12 

144  Rue  des  Tuileries  40 

Very  picturesque  and  choice  bits  of  architecture  seen 
through  rarely  sympathetic  eyes  and  expressed  in  fine 
artistic  terms. — A.  J.  P. 

145  Across  Pont  St.  Michel  1916        40 

The  understanding  and  idealising  af  city  life, — his 
eye  is  quick  to  follow  its  manifold  manifestations  and 
his  warm-hearted  sympathy  is  equally  quick  to  discern 
in  the  unceasing  phantasmagoria  of  street  activity,  only 
what  is  essential  and  permanent. 

— PAUI.  CHAUVET 

CHICAGO 

146  Site  of  Old  Fort  Dearborn          1916        18 

147  West  Randolph  St.  from  the 

Viaduct  18 

148  Rush  St.  Bridge  "           60 

149  The  Market  in  South  Water  St.  "            18 

150  Park  Row  from  Michigan 

Boulevard  40 

151  The  Library  "  12 

152  Michigan  Bid.  at  the  Art 

Institute  40 

153  In  the  Stockyards  "  18 

154  The  Field  Museum,  Jackson 

Park  10 

155  State  Street  from  Van  Buren  "  12 
RIVIERA 

156  Mediterranean  Fishermen  40 

157  The  Bay  of  Cannes  "  30 

158  Street  in  Grasse  ' '  30 

159  In  the  Alpes  Maritimes  "  30 

WEST  INDIES  AND  BRITISH  GUIANA 

160  Coast  of  Trinidad  near  Sangre 

Grande  1917        40 

161  On  the  Maraval  Road,  Coolie 

Hut,  Trinidad  40 

162  West  Indian   Fishermen   in 

the  Trade  Winds  40 

29 


163  Coolie  Women.     Demerara, 

British  Guiana  1917        30 

164  In  a  Coolie  Village,  Demerara, 

British  Gniana  40 

165  The  Cocoanut  Grove, Dominica  "  40 

166  Barbados  30 

ETCHINGS  OF  THE  GREAT  WAR 

The  impression  of  the  American  front  in  France 
which  Mr,  Lester  G.  Hornby  shows  belong  amongst  the 
better  works  of  art  which  have  been  produced  by  the 
war  .  ,  .  You  apprehend  with  something  like  test 
the  movement,  the  reality  whieh  he  manages  to  express. 
.  .  .  His  picture  of  life  at  the  front  is  veraciout.  Afore 
than  that,  Mr.  Hornby's  work  is  fresh  and  personal. 
He  is  interesting  where  some  technicians  of  greater 
resources  have  been  commonplace. 

—ROYAL  CORTISSOZ,  N.  Y.  TRIBUNE. 

In  spite  of  the  law  which  forbade  a  foreigner's 
traveling  with  the  troops,  Hornby  went  from  Audierne 
to  Paris  with  the  men  who  had  been  mobilized.  He  has 
told  the  story  of  this  adventure  in  the  CENTURY,  for 
Christmas,  1914. 

After  the  United  States  had  entered  the  war,  Hornby 
came  to  France  with  the  American  Army  in  1918  and 
was  with  the  American  troops  who  made  the  advance  at 
the  Afarne  and  who  fought  at  the  battles  of  the  Argtnne 
and  the  Meuse.  —  LOUIS  THOMAS  in  "LA  FRANCE." 

167  Chateau-Thierry  1918        90 

168  The  Marne  Advance  at  Vaux      "  90 

169  An  Army  Smithy  in  the 

Marne  Valley  60 

170  Automatics  and  Shrapnel, 

Soissons  70 

171  ' '  Going  Over  ' '  through  a 

Wheat  Field  near  Soissons  70 

172  Along  the  Road  near  Belleau 

Woods  70 

173  Caf£  du  Theatre,  Chaumont        "  90 

174  Supply  Train  in  the  Market 

Place,  Toul  80 
174a  Supply  Train  in  the  Market 

Place,  Toul  12        1st  State 

175  Seicheprey,  80 

30 


176  Ruins  along  the  Meuse,  Verdun  1918        80 

177  The  Camouflaged  Bridge, 

Varennes 

178  The  "M.  P.,"  Argonne  90 

179  First  Aid  Station,  Argonne  90 

180  Camouflaged  Auto  Shelter, 

Cheppy 

181  The  Advance,  Romagne  90 

181a     «  ««  "  4        1st  State 

182  After  the  Attack.    At  a  Bridge 

near  Romagne  60 

183  Machine  Gunners,  Buzancy        "  30  (Sold  only  with 

complete  set) 

184  Wire  Cutters,  Early  Morning, 

near  Montfaucon  90 

185  A  Dog  Fight  in  the  Air,  at 

Cunel  70 

186  The  Observer.     Valley  of  the 

Meuse  80 

187  The  Post  Commander's 

Dugout,  Bantheville  90 

187a  The  Post  Commander's 

Dugout,  Bantheville  4        1st  State 

188  The  Night  of  the  Armistice, 

Casino  de  Paris  60 

189  The  "Jump  Off."    Tanks 

with  pioneer  infantry  and 
smoke.  Beyond  Banthe- 
ville 50 

190  The  Americans  at  Chateau- 

Thierry  60 

191  The  Fighting  Yank  40 

192  3000  Miles  from  Turner's 

Corner 
192a    The  Post  Commander  12 

MASSACHUSETTS 

193  Skating  in  Gloucester  Harbor  1919        50 

194  Rocky  Neck  in  Snow  "  12        1st  State 

195  ««          "      "       "  "  12        2nd  State 

196  "          "      "      "  "  40        3rd  State 

197  In  Gloucester  Harbor  40 

198  Gould's  Bridge,  Ipswich  50 

31 


BOSTON.  1920 

Otu  may  grasp  tkt  spirit  of  old  Boston  mart  securely 
than  by  visiting  the  places  pictured.  Only  on  a  rare 
October  day  at  sunset  does  the  spirit  of  tkt  past  peer  forth 
from  among  the  shadows  around  the  landmarks  of  Old 
Boston^  and  then  it  is  for  a  moment  only  and  for  the 
eyes  of  dreamers.  It  is  at  such  a  moment  and  "with  such 
eyes  that  Mr.  Hornby  has  caught  Old  Boston. 

—  BOSTON   HERALD. 

Faneuil  Hall  from  Qnincy  Market  40 

Quincy  Market  40 

Qnincy  Market  from  Merchant's  Row  40 

State  Street  Subway  Entrance  30 

Park  Street  Chnrch  from  the  Common  40 


199 
200 
201 
202 
203 

204     Cnstom  House  Tower  from 
Public  Gardens 


the 


40 


205    Palais  des  Justice  1920        250     Complete  edi- 

tion bought  by  the  Chicago  Society  of   Etchers 
for  its  members. 


No.  /74     Supply  Train  in  the  Market  Place,  Ton/ 


THE   GOODSPEED    MONOGRAPHS 
Louis  A.  Holman,  Editor 

Of  interest  to  all  lovers 
of  prints  and  of  books, 

1 .  Arthur  William  Heintzelman,  Etcher 

2.  Sears  Gallagher's  Etchings  of  Boston 

3.  Hornby's  Etchings  of  the  Great  War 

(fit  Preparation) 

4.  Rembrandt  and  his  Etchings 

5.  The  Work  of  Wenceslaus  Hollar. 

From  the  German  of  Gustav  Pctrthey 

6.  Early  English  Engraved  Portraits 

fly  Alfred  Whitman 

Others  to  follow 
25  cents  each,  postpaid 

GOODSPEED'S  BOOKSHOP,  5a  Park  St. 
BOSTON 


